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Hi Davey, welcome to VENTS! How have you been?
I’ve been great, thanks. Just wrapped up this new album and been out playing some shows around the South. Life’s good down here in Mississippi—family, fishing, and plenty of music to keep things rolling.
Ball Cap Blues blends Southern, contemporary, and Mississippi Blues influences — what was your guiding vision going into this record?
I always draw from my influences on any song or album, but for Ball Cap Blues, I really wanted to highlight my Mississippi roots and the sounds that shaped me. It’s about blending modern blues with those Southern and rootsy vibes I grew up on. Think of it as my take on the classics with a fresh twist—upbeat grooves that feel good, staying true to where I come from in South Mississippi.
You play all the instrumentation on the album. What does that level of control give you creatively, and what challenges come with it?
Playing everything myself is a double-edged sword. On the plus side, it lets me capture exactly what’s in my head without compromise, and I can work at my own pace—no studio clock ticking with a band waiting. It’s all me, so the sound is uniquely Davey Jones. But yeah, it has limits. I’m no virtuoso on every instrument, so sometimes I’m capped by what I can pull off. Bringing in others could spark fresh ideas, but even solo, I bounce stuff off musician friends for feedback. Keeps it real.
The album moves from driving tracks like “Six Feet In The Ground” to laid-back grooves like “Walking Easy.” How do you decide what feel each song needs?
A lot of times, I start with a groove or vibe, and the lyrics flow from there—let the music lead. Other times, words come first, and the feel builds around them. For “Walking Easy,” the lyrics hit me initially, and that easygoing rhythm just fit naturally, like a lazy day on the Gulf Coast. With “Six Feet in the Ground,” the driving Southern rock beat came first, and the words had to match that energy. I don’t force it; songs come together best when they happen organically.
Songs like “New Groove” and “Woman I Love” introduce funk and modern blues elements. How do you balance experimentation with staying true to traditional blues roots?
Blues is the foundation of most American music, so it’s got this big umbrella that covers a lot of ground. You can push boundaries and mix in funk, rock, or whatever, as long as you nod to the traditions—like those Delta legends. I love pulling from all my influences: Tab Benoit’s swampy vibe, Delbert McClinton’s Texas swing, Keb’ Mo’s groove. “New Groove” and “Woman I Love” show how you can blend genres without losing that blues soul. It’s all about keeping it authentic and fun.
You’ve said playing everything yourself ensures the music is uniquely you. How would you describe your personal musical fingerprint?
Since I handle playing, mixing, and mastering, every track has my stamp on it. I lean toward that raw, unpolished sound—like you’re hearing a live band in a smoky room, with dynamic drums and a bit of imperfection. Not glossy or overproduced; more like the real deal. Folks might hear hints of country or classic rock sneaking in, but it’s all filtered through my Southern blues lens. If it feels good and gets your foot tapping, that’s my fingerprint.
Opening the album with “Banks of the Blues” feels like a statement of identity. Why was it important to begin the record with a tribute to South Mississippi?
That track sets the tone right off—it’s my nod to roots and traditional blues. Growing up here, music’s everywhere, from legends like Robert Johnson, B.B. King, and Muddy Waters to local juke joints. I wanted to honor that history and the folks who paved the way. Without them, guys like me wouldn’t be doing this. Starting with it feels like saying, “This is where I’m from, and this is what built me.”
Growing up along the Gulf Coast clearly shaped your sound. What moments or places from that environment still show up in your songwriting today?
Every spot down here has its own flavor—the beaches, bayous, cotton fields, creeks. I grew up fishing, hunting, working outside, soaking in that hard-work, family-first life. It all seeps into my songs: the laid-back grooves from lazy coastal days, the driving rhythms from those long Southern roads. Places like the Delta or Hattiesburg—where the first rock ‘n’ roll lick was recorded back in ’36 by the Mississippi Jook Band—remind me of that deep blues history. It shapes how I see the world and play.
You reference being born near where one of the first rock ’n’ roll licks was recorded in Hattiesburg. How does that musical history influence your approach to the blues?
Knowing my roots means everything—Hattiesburg’s the birthplace of rock ‘n’ roll, and it’s all tied back to blues. I love history, and without those early sounds, we wouldn’t have what we do today. Mississippi’s got that deep love for rock, but it started with blues. Like Muddy Waters said, “The blues had a baby and they named it rock ‘n’ roll.” I weave in those influences—country, rock, zydeco—while keeping blues at the core. It’s about respecting the past and making it my own.
Ball Cap Blues is described as “your version of the Blues.” What do you hope listeners hear that feels distinctly Davey Jones?
I hope they hear that upbeat, feel-good energy—music that’s fun, not too serious. I don’t do a ton of slow, downer blues; I like grooves that make you move, blending my Southern rock and country edges with blues heart. It’s raw, real instruments, no fancy tricks—just me pouring out what I love. If it puts a smile on your face or helps you unwind, that’s Davey Jones blues.
With the album dropping January 23, 2026, how do you see Ball Cap Blues fitting into the next chapter of your career?
I’ve released a bunch of music over the years, but this one’s a real tribute to my roots and what kicked off my blues journey. It’s like closing one door and opening another as things keep growing—more shows, teaching guitar online, building the fanbase. I’m independent, calling my own shots, and this album feels like the perfect launchpad for whatever comes next. Excited to see where it takes me.
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